Frank Woodley stars as Candide in Optimism

Optimism
Starring: Frank Woodley, Caroline Craig, Amber McMahon, Barry Otto, Alison Whyte
Directed by: Michael Kantor
Appearing at: The Malthouse Theatre, Melbourne
Produced by: Malthouse Theatre, Edinburgh International Festival, Sydney Theatre Company and Sydney Festival

Adaptations can be scary things. The general rule seems to be to cast a bunch of actors who have an assortment of skills, milk as many of those skills as possible, make it modern and a bit ‘groovy’, and throw the whole thing up against an industrial landscape. This combination can often be a recipe for disaster, but somehow Optimism, directed by Michael Kantor, combines all of the above and wins in a big way.

Optimism takes us on a journey around the world as our lovelorn hero Candide (Frank Woodley), searches for his childhood love, Cunegode (Caroline Craig), who finds it hard to keep her knickers on. Along the way Candide, armed with a wad of optimism, clashes with the usual elements; infidelity, murder and mayhem, as well as a woman with one butt cheek.

Guns, planes and electric guitars replace swords, boats and lutes in Tom Wright’s adaptation, but the story is much the same and just as relevant as Voltaire’s original satire Candide which questions unflinching, blind optimism.

An impressive set (including bubble-wrap and industrial fans), men in frocks and an array of modern songs all contribute to the (dare I say it) rollicking journey. By the end of the show it seems as if every genre of the theatre had been covered.

Frank Woodley’s comic genius is perfectly placed, particularly when he breaks the fourth wall and engages with the audience. Kantor appears to have given him free rein to improvise in parts although these moments could well have been brilliantly rehearsed. Whatever the case, the forgotten lines and cock-ups only serve to highlight Woodley’s skill as a comedic performer.

The ensemble, including Barry Otto and Alison Whyte, pull off mad dance scenes and moments of stillness with ease. The music is well chosen thematically – it really is difficult not to fall for the painfully beautiful renditions of early ’90s tunes, their tear-jerking harmonies intact. The rendition of Ace Of Base’s ‘Wonderful Life’ is a high point – perhaps I’m a sentimentalist, but it is simply moving. The piece presents some brilliant moments of stillness coupled with music, the combination provocative. Often, though, these moments – which shift from poignancy to comedy – are moved on much too quickly.

Optimism is much like big vat of soup with a bit of everything in it. Sound effects are mixed with a live soundtrack, often presented against strobe lighting and with rapid scene changes. Electric guitar, grand piano and loose dance choreography on a floor-to-ceiling steel set, replete with plastic curtains swishing back and forth between scenes, stimulate every human sense. The combination could be messy in unskilled hands, but the experienced cast manage to bring cohesion to the chaos, and every accident is taken in their stride. The paced scene changes invite disaster – two cast members took a tumble during the show. A large prop, at one point, veered in the wrong direction and was salvaged by actors in a prompt rescue dash. All this only served to elicit louder laughter.

Optimism takes risks and I like that. The eclectic mix of theme, genre and aesthetic may not appeal to all folk, but with a perfectly flawed mish-mash approach – and an impeccable rhythm – it really is hard but to be won over by the delightful chaos.